Under the heading of "Gang i København" a number of initiatives was presented by the Lord Mayer and the Technical and Environmental Mayer of Copenhagen in May 2006. The aim of the initiative, which roughly translates to Lively Copenhagen, was both to make Copenhagen a livelier city in terms of city life, outdoor concerts and serving; and to make Copenhagen a better city for entrepreneurs.1 The coupling of the two goals: city life and entrepreneurship, testify to the political preference for creative industries or, to use Richard Florida’s famous concept, the creative class, assumed to thrive in a lively urban environments.2 “Gang I København” clearly aimed to raise the assets of Copenhagen in the global urban experience economy. This article takes the case of “Gang I Købanhavn” as an entrance to discuss the politics of urban sound and draws attention to an undeveloped, but emerging theme in discussions about urban sound environments: namely that sound as a senso-motoric register may be poorly reflected through concepts of noise and harmonics, respectively disturbance and well-being. A cultural theory of sonic environments may focus on the sociality of sound and investigate the ways in which people interact and make meaning through sound. Arguing for the relevance of a method to register and describe auditory practices as a kind of social interaction – a method that may supplement the engineer’s quantitative sound measurements and the landscape architect’s qualitative descriptors this article outline a few approaches to a theory of acoustic territoriality.